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Sense-data and the percept theory, part I

Mind 58 (October):434-465 (1949)

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  1. Russell on Acquaintance with Spatial Properties: The Significance of James.Alexander Klein - 2017 - In Sandra Lapointe & Christopher Pincock (eds.), Innovations in the History of Analytical Philosophy. London, United Kingdom: Palgrave-Macmillan. pp. 229 – 264.
    The standard, foundationalist reading of Our Knowledge of the External World requires Russell to have a view of perceptual acquaintance that he demonstrably does not have. Russell’s actual purpose in “constructing” physical bodies out of sense-data is instead to show that psychology and physics are consistent. But how seriously engaged was Russell with actual psychology? I show that OKEW makes some non-trivial assumptions about the character of visual space, and I argue that he drew those assumptions from William James’s Principles. (...)
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  • (1 other version)Las conferencias Lowell de Kuhn: un estudio crítico.Juan Vicente Mayoral - 2013 - Theoria: Revista de Teoría, Historia y Fundamentos de la Ciencia 28 (3):459-476.
    Ciertas interpretaciones de la obra de Kuhn subrayan su contribución inconsciente al positivismo lógico, lo que es consecuencia de un conocimiento y una crítica superficiales de dicha corriente por su parte. En este artículo critico dicha tesis a partir de un texto inédito de Kuhn: The Quest for Physical Theory (1951), sus conferencias en el Instituto Lowell de Boston y una primera presentación del punto de vista de The Structure of Scientific Revolutions.
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  • On the Diversity of Auditory Objects.Mohan Matthen - 2010 - Review of Philosophy and Psychology 1 (1):63-89.
    This paper defends two theses about sensory objects. The more general thesis is that directly sensed objects are those delivered by sub-personal processes. It is shown how this thesis runs counter to perceptual atomism, the view that wholes are always sensed indirectly, through their parts. The more specific thesis is that while the direct objects of audition are all composed of sounds, these direct objects are not all sounds—here, a composite auditory object is a temporal sequence of sounds (whereas a (...)
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